Working the Jazz Metaphor: Musings Driving Down I-5 Past Midnight

Berniker, Eli

doi:10.1287/orsc.9.5.583

Cited by 9 publications

(11 citation statements)

References 1 publication

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“…Paralleling our previous discussion of the 'minimal structure' concept, a directive leader would act as a visible and obtrusive control mechanism that would hamper improvisation. None the less, if the elements of the minimal structure above are in place, a directive leader would restrain the span of the risks its followers take, but this would not put into question the occurrence of improvisation (Eisenhardt and Tabrizi 1995;Weick 1993b Barrett (1998) Yes Yes Yes Yes Bastien and Hostager (1988) Yes Yes Yes Berkiner (1998) Yes Yes Yes Brown and Duguid (1991) Yes Yes Yes Yes Yes Yes Brown and Eisenhardt (1997) Yes Yes Yes Ciborra (1996) Yes Yes Yes Crossan and Sorrenti (1997) Yes Yes Yes Yes Yes Crossan (1997) Yes Yes Yes Yes Yes Crossan (1998) Yes Yes Yes Yes Yes Crossan et al (1996) Yes Yes Yes Yes Deal and Key (1998) Yes Yes Yes Eisenberg (1990) Yes Yes Yes Yes Eisenhardt and Tabrizi (1995) Yes Yes Yes Eisenhardt (1997) Yes Yes Ellis (1982) Yes Yes Yes Hatch (1997) Yes Yes Hatch (1998) Yes Yes Yes Yes Hatch (1999) Yes Yes Hutchins (1991) Yes Yes Yes Yes Johnson and Rice (1984) Yes Yes Kamoche and Cunha (1997) Yes Yes Kamoche and Cunha (1998) Yes Yes Klein and Dellarocas (1998) Yes Yes Meyer (1998) Yes Yes Yes Miner et al (1996) Yes Yes Yes Yes Mirvis (1998) Yes Yes Yes Yes Moorman and Miner (1995) Yes Yes Yes Moorman and Miner (1998a) Yes Yes Moorman and Miner (1998b) Yes Yes Orlikowski and Hoffman (1997) Yes Yes Yes Orlikowski (1996) Yes Yes Pasmore ( have a meaningful positive impact on the quality of organizational improvisation. This kind of leader holds a twofold stewardship: stewardship for their ...…”

Section: September 1999mentioning

confidence: 99%

“…The rationale behind this argument is that improvisation is a skill on its own (Weick 1999) that cannot be transmitted explicitly through formal knowledge, but that can only be grown through its performance. These authors normally draw on examples from jazz (Weick 1998) and theater (Crossan et al 1996) to show that only through much practice do people acquire considerable adroitness at the skill Bastien and Hostager (1988) Yes Yes Berkiner (1998) Yes Yes Brown and Duguid (1991) Yes Yes Yes Yes Yes Brown and Eisenhardt (1997) Yes Yes Ciborra (1996) Yes Yes Yes Yes Crossan and Sorrenti (1997) Yes Yes Yes Yes Yes Crossan (1997) Yes Yes Yes Yes Crossan (1998) Yes Yes Yes Yes Yes Crossan et al (1996) Yes Yes Deal and Key (1998) Yes Yes Yes Yes Eisenberg (1990) Yes Yes Eisenhardt and Tabrizi (1995) Yes Yes Yes Eisenhardt (1997) Yes Ellis (1982) Yes Yes Yes Hatch (1997) Yes Yes Yes Hatch (1998) Yes Yes Yes Yes Hatch (1999) Yes Yes Hutchins (1991) Yes Yes Yes Johnson and Rice (1984) Yes Yes Yes Kamoche and Cunha (1997) Yes Yes Kamoche and Cunha (1998) Yes Yes Klein and Dellarocas (1998) Yes Yes Meyer (1998) Yes Yes Miner et al (1996) Yes Yes Yes Mirvis (1998) Yes Yes Yes Moorman and Miner (1995) Yes Yes Moorman and Miner (1998a) Yes Yes Moorman and Miner (1998b) Yes Yes Orlikowski and Hoffman (1997) Yes Yes Orlikowski (1996) Yes Yes Yes Pasmore (1998) Yes Pearson et al (1997) Yes Yes Peplowski (1998) Yes Yes Yes…”

Section: September 1999mentioning

confidence: 99%

“…ß Blackwell Publishers Ltd 1999 Bastien and Hostager (1988) Does not address negative outcomes Berkiner (1998) Does not address negative outcomes Brown and Duguid (1991) Yes Brown and Eisenhardt (1997) Does not address negative outcomes Ciborra (1996) Yes Crossan and Sorrenti (1997) Does not address negative outcomes Crossan (1997) Does not address negative outcomes Crossan (1998) Does not address negative outcomes Crossan et al (1996) Does not address negative outcomes Deal and Key (1998) Does not address negative outcomes Eisenberg (1990) Yes Yes Eisenhardt and Tabrizi (1995) Does not address negative outcomes Eisenhardt (1997) Does not address negative outcomes Ellis (1982) Yes Hatch (1997) Does not address negative outcomes Hatch (1998) Does not address negative outcomes Hatch (1999) Does not address negative outcomes Hutchins (1991) Does not address negative outcomes Kamoche and Cunha (1997) Yes Yes Yes Yes Kamoche and Cunha (1998) Yes Yes Yes Yes Klein and Dellarocas (1998) Does not address negative outcomes Meyer (1998) Yes Miner et al (1996) Yes Yes Yes Mirvis (1998) Yes Moorman and Miner (1995) Yes Moorman and Miner (1998a) Does not state negative outcomes Moorman and Miner (1998b) Does not address negative outcomes Orlikowski and Hoffman (1997) Does not address negative outcomes Orlikowski (1996) Does not address negative outcomes Pasmore (1998) Does not address negative outcomes Pearson et al (1997) Does not address negative outcomes Peplowski (1998) Does not address negative outcomes Perry (1991) Does not address negative outcomes Slocum et al (1994) Does not address negative outcomes…”

Section: September 1999mentioning

confidence: 99%

“…ß Blackwell Publishers Ltd 1999 Table 9. Empirical and metaphorical grounding of texts on organizational improvisation Author(s) Grounding Area/Subject Barrett (1998) Metaphorical Jazz Bastien and Hostager (1988) Empirical Jazz Berkiner (1998) Metaphorical Jazz Brown and Duguid (1991) Empirical Organizational practice Brown and Eisenhardt (1997) Empirical New product development Ciborra (1996) Anecdotal Organization structure Crossan and Sorrenti (1997) Anecdotal Organizational learning Crossan (1997) Anecdotal/Metaphorical Management/Improvisational theater Crossan (1998) Anecdotal/Metaphorical Organizational improvisation/Improvisational theater Crossan et al (1996) Anecdotal/Metaphorical Management/Improvisational theater/Jazz Deal and Key (1998) Anecdotal Corporate celebration Eisenberg (1990) Metaphorical Jazz Eisenhardt and Tabrizi (1995) Empirical New product development Eisenhardt (1997) Anecdotal Strategy and decision making Ellis (1982) Anecdotal Business management Hatch (1997) Metaphorical Jazz Hatch (1998) Metaphorical Jazz Hatch (1999) Metaphorical Jazz Hutchins (1991) Empirical Co-ordination Johnson and Rice (1984) Empirical Technology implementation Kamoche and Cunha (1997) Metaphorical Jazz Kamoche and Cunha (1998) Metaphorical Jazz Klein and Dellarocas (1998) Anecdotal Workflow systems Meyer (1998) Metaphorical Jazz Miner et al (1996) Empirical New product development Mirvis (1998) Metaphorical Jazz Moorman and Miner (1995) Theoretical New product development Moorman and Miner (1998a) Theoretical New product development Moorman and Miner (1998b) Empirical New product development Orlikowski and Hoffman (1997) Empirical Technology implementation Orlikowski (1996) Empirical Technology implementation …”

Section: Issues For Researchmentioning

confidence: 99%

See 3 more Smart Citations

Organizational Improvisation: What, When, How and Why

Cunha

Kamoche

1999

Int J Management Reviews

340

110

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In this article, the authors review the growing body of literature on organizational improvisation in order to present an encompassing and systematic perspective on this concept. An integrative definition of its construct is presented together with a new way of measuring this phenomenon in organizational settings. The article further explores this construct by presenting its triggers, necessary conditions, influencing factors and major outcomes. The issues of improvisation’s growing legitimization in the organizational arena for practitioners and researchers alike are addressed in order to argue for the need for and interest in a fuller development research on this concept.

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Section: September 1999mentioning

confidence: 99%

Section: September 1999mentioning

confidence: 99%

Section: September 1999mentioning

confidence: 99%

Section: Issues For Researchmentioning

confidence: 99%

See 2 more Smart Citations

Organizational Improvisation: What, When, How and Why

Cunha

Kamoche

1999

Int J Management Reviews

340

110

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“…Not surprisingly, improvised music performance is often used as a metaphor for organization (e.g. Berniker, 1998;Hatch, 1998;Lewin, 1998;Weick, 1998).…”

Section: Collective Talent -20 -mentioning

confidence: 99%

Collective Talent : A Study of Improvisational Group Performance in Music

Jong¹

2006

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The research presented in this doctoral thesis has been conducted as part of the research program "Support, Survival and Culture" at the Centre for Innovation and Cooperative Technology (CICT), University of Amsterdam, under the supervision of Professor Dr. G. de Zeeuw. This program brought together a broad scope of people with varying interests and backgrounds, such as social sciences, organization sciences, computer science, mathematics, methodology and arts. It was focused on topics that concentrate on the development of social support systems. As a nurturing ground, it has enriched my study with ideas associated with systems research and second order cybernetics. Preface-13-accepted my role within the 'Spinoza' project. It takes courage to accept someone external to actively participate in the music lessons for a full year so intimately as I have had the opportunity to. The 'Sensitive Chords' project drew upon the enthusiastic cooperation and creative responses of the members of my development team. In the first place, I want to thank Bert Bongers, for his invaluable role in the technical realization of Sensitive Chords, including the sensor technology, as well for his relentless support during the majority of presentations and demonstrations with Sensitive Chords. More in general, I want to acknowledge the people at the Institute of Sonology of the Royal Conservatory in the The Hague for their generous concern and support of this project. I want to thank Theo Borsboom for the precise construction of the mechanical components and for building the hardware of the musical instrument. I am very grateful to Günther Rötter for providing me with opportunities to demonstrate Sensitive Chords in Germany and for composing musical licks to be especially used for Sensitive Chords. I also want to acknowledge Marion de Laat, who as well took the challenge to compose five different licks for Sensitive Chords, while knowing that these compositions would never be performed in their original form.

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Organizations on stage: organizational research and the performing arts

Komander

König²

2022

Manag Rev Q

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Management and organization scholars have long been intrigued by the performing arts—music, theater, and dance—as a rich context for studying organizational phenomena. Indeed, a plethora of studies suggest that the performing arts are more than an interesting sideline for authors, as they offer unique theoretical and empirical lenses for organization studies. However, this stream of literature spreads across multiple research areas, varies with regard to its underlying theories and methods, and fails to pay sufficient attention to the contextuality of the findings. We address the resulting limitations by identifying and reviewing 89 articles on management and organization related to the performing arts published in 15 top-tier journals between 1976 and 2022. We find that research in the performing arts advances organizational theory and the understanding of organizational phenomena in four key ways, namely by studying (1) organizational phenomena in performing-arts contexts; (2) performing-arts phenomena in organizational contexts; (3) organizational phenomena through the prism of performing-arts theories; and (4) organizational phenomena through the prism of performing-arts practices. We also find that, in contrast to other settings, the performing arts are uniquely suited for immersive participant-observer research and for generating genuine insights into fundamental organizational structures and processes that are generic conditions of the performing arts and management alike, such as leadership, innovation, and the management of uncertainty. Finally, based on our consolidation of the research gaps and limitations of the reviewed studies, we develop a comprehensive agenda for future research.

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Working the Jazz Metaphor: Musings Driving Down I-5 Past Midnight

Cited by 9 publications

References 1 publication

Organizational Improvisation: What, When, How and Why

Organizational Improvisation: What, When, How and Why

Collective Talent : A Study of Improvisational Group Performance in Music

Organizations on stage: organizational research and the performing arts

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